Good Morning, Gen Z

There's more to Wernerville than just revering the old school. Granted, I don't think Lil Wayne has anything in his catalog that will ever touch one of Kid 'N' Play's classics, but we still appreciate new shit by new artists that doesn't sound anything like the 80's or 90's here. You know what I like that even I didn't think I was gonna like? GMA: Good Morning AMY by Billy Drease Williams.

You may've seen one of his videos getting some shine on the blog circuit earlier this year. Not me, though; just his name was enough to keep me from paying attention. So this album's been out since the summertime, but I'm just hearing it for the first time now. And fuck me - I really like it!

Drease is both the MC and producer. As a producer, he's got a really unique, clean sound. The drums are big and the only old school sounding aspect of the music, but it's covered in upbeat - I daresay cheery - tunes. Some of it's live music... there are a lot of piano, strings and guitar samples in the liner notes, almost all credited to a guy named Alan Evans, though there are a few other musicians here and there, including a DJ Cutler who provides some fresh scratches to a couple tracks.

The resulting vibe is sort of a combination of Common, Kanye West, Rob Base and Kwamé. If you think the album cover is a bit unusual, wait until you open up the packaging and booklet; it's full of his crazy drawings of pancakes, spaceships, ants and rainbows shooting out of his eyes... I think every element is meant to tie into a concept from one of his songs. The content on this album focuses on positive, inspiring messages, though there's some basic braggadocio ("Just Doin' It") and relationship songs ("Shut the Gate").

And as an MC, Grease has a cool voice and confident flow. Lyrically... well, okay, lyrically is where Grease still has room to grow. He has a penchant for the corny and a habit of being out-shined by his guests I've never heard of, like this one by Elgin Franklyn:

"El don't sleep;
I just go in a trance.
Focused on pause,
spiritually advanced.
Second nature natural,
Strong moves are surgical,
Sleep is the cousin of wasted potential.
But I digress, dog;
Never back down.
Big Bank El Frank dominating the platform."

And there are a couple other missteps throughout the album. A guy named Richie English is enlisted to sing hooks on a couple of songs, and it's not that the guy can't sing; but the hooks on those songs are pretty rough to get through. They downright ruin one song ("Never Been To Paris"). And there's also a final, semi-spoken word song, which also features a kid singing towards the end... that's kind of a mess.

But I don't want to blow the imperfections out of proportion. This is a surprisingly enjoyable album featuring some really good music and a lot of evident talent. And when I say "talent," maybe that suggests an album you should like. But really, it's an album that's hard not to like. Even the concept (who/what is "AMY?" It's one of those concepts with multiple, variant answers) is more engaging than these things tend to be. If this is what the kids are listening to these days, then I approve. 8)

KVBlue

KVBeats' debut album The Resumé is out now. That might not have you too excited, probably because you don't know who he is. I don't know who he is either, to be honest. I mean, I know he's a hip-hop producer from Copenhagen, but I only know that because I looked him up online after I heard about this LP. If he's ever produced anything by anybody before, it's news to me. But... But you may not know this KVBeats guy, but I'm sure you know a ton of MCs featured on this album: Slum Village, Smoothe da Hustler, Little Vic, etc etc. So, yeah, it's not just a debut by an unknown Danish producer, it's a compilation where every song is by known and respected US MCs.

And I can start out with some welcome news: KV is a good producer. Because, it doesn't matter how good his line-up is if he can't hold up his end. He could have the greatest rappers in the world, but nobody's gonna spin the album a second time if they're stuck rhyming over some cheap, electronic bullshit. But, no. Fortunately, KV's pretty nice with his. He's got a cool, lively but subtle, understated style. And he's got a unique, consistent sound... after listening to this album I feel like, if I heard something he produces down the road I'll be able to tell, "oh, I bet KVBeats produced this."

That said, he also paints himself a little into a corner that way... when he pairs smooth, low-key vibe with solid but not especially dynamic MCs, he winds up with an album that feels a bit soft. Not in the sense that the music isn't loud and angry hardcore like old school Willie D (though some of that energy would've helped), but just in that it often doesn't make that much of an impact. Guys like Prince Po, DV Alias Khrist and the dudes from Slum Village doing concept songs over smooth beats can blend into the background dangerously close to elevator music. It's cool, but unexciting. A couple of the guests like Chaundon and Pace Won manage to make their contributions pop by injecting humor, and Doo Wop livens up his song just by being Doo Wop.

The highlight is easily "5'9 + Won," a duet featuring smart, attention grabbing verses from Royce da 5'9 and Pace Won. A killer hook provided by DMC world champion DJ Noize helps a lot. This one and "Clap To This" features some of the best production on the album. The latter, though, is hampered somewhat by its MC, Mic Geronimo, whose flow feels a bit gimmicky, as if he's trying to appeal to "the youtube generation" or something.

This is a good, solid debut album, and KVBeats provides the kind of sound I wish more people were doing in 2010. But for the most part, it's going to wind up with a limited appeal to more select, serious heads that are prepared to give an attentive, appreciative ear to some quality production without a lot of flash. Everyone else will want to just download "5'9 + Won" and one or two contributions by their personal favorite guests (you can do that legally, guys, from itunes and amazon) and move on.

...But a limited audience is appropriate for this anyway, since it's a limited pressing. Only 300 copies are being pressed onto cool, blue vinyl; and as you can see above, it comes in a fresh picture cover. I'm not sure how many spots will be carrying this, but I know hhv and jet set have got it (hopefully someplace with USA-friendly shipping will get on board soon). And I look forward to hearing more from KVBeats; he's got an appealing sound. And if he can talk DJ Noize into working with him on the regular, they'd be a force to be reckoned with.

Fuck Compton? No, Fuck the South Bronx!

(Youtube version is here.)

Gangstarr Adjusted

Gangstarr's "Gotta Get Over (Taking Loot)" was originally released as part of the soundtrack to Trespass, one of those movies made during that brief time-period where soundtracks were so lucrative, that whole films were produced on the cheap just so they could market the albums. I did see it at the time - as I recall, it was about a couple of guys (including a less famous Bill Paxton) who discover gold in the middle of some drug dealing gang's territory... eventually everybody shoots everybody, and the deep message is "greed is bad and some people really shouldn't have guns."

But forget about the movie (the rest of the world has); the important part, as I say, is the soundtrack, on Sire Records. Now, it's mostly a west coast affair, featuring artists like Ice-T, WC and The Penthouse Players' Clique (which I'm not saying is a bad thing, mind you - I'm a PPC fan), but it includes two stand-out east coast songs, Lord Finesse's "You Know What I'm About" and Gangstarr's "Gotta Get Over." Sire Records put out a single or two (AMG's "Don't Be a 304" was the big one), but "Gotta Get Over" was such a stand-out track that Gangstarr's label, Chrysalis Records, picked it up and released it as a single themselves.

"Gotta Get Over" features one of the most memorable basslines in hip-hop history. Couple that with Guru being on a more hardcore, street edge than usual, and Premier's pro cuts and horn samples, and you've got a Gangstarr classic that rivals any of their greatest singles. But this 12" takes it further, and includes, in addition to the album version, a brand new Large Professor remix. Now on a song this great, a remix really isn't needed - who's going to stop playing the original, which nailed it perfectly, to spin an alternate version? But now many years have passed, I think we can go back and this excellent production by Extra P. No, of course it doesn't top the original; but taken on its own, it's a great track. It keeps the aesthetic of the original, dominating the tune with a dope, memorable bassline. It's not the same bassline at all, but it's used in the same spirit and is similarly accentuated by Guru's voice. But in this case, the remix really comes to life on the hook, when these ill samples come in... it actually reminds me of the kind of stuff RNS provided for the first UMCs album.

So you've got both versions of "Gotta Get Over" on here, plus the remix instrumental. But turn it over and you've got another Gangstarr cut. This time it's for "Flip the Script" off the Daily Operation album. You've got two mixes on here: the Album Mix and the "Remix/ Minor Adjustment Mix," also by Premier. "Flip the Script" was always one of my favorite cuts off that album, the loop has this really hard chop to it that's almost broken but sounds great. And this new version maintains that. In fact, considering the name, you might think that the "Minor Adjustment" remix would be one of those where you have to keep your ear to the speaker just to suss out the distinction; but actually it's apparent. The piano keys that make up the bassline are switched out with new ones comprised of more notes, giving the song a richer vibe, almost more like live music. The other big difference is the addition to a new high-pitched, heavy metal guitar sample being scratched and looped into the track. It's hard to single out one as better than the other, really; I think it just boils down to a question of whether you prefer a busier, more complex beat or the rawer, simpler original.

Regardless, this is a pretty sweet 12", and right up there with Gangstarr's classics. It's a good thing Chrysalis was smart enough to license the song and commission release, or we fans would've really missed out.

Introduction of a Character Problem Child

You know what's frustrating? When you heard a cool song once on the radio, but you weren't sure what the name of it was or who it was by... and as time passes, you're looking for that song but never find it. Eventually, like 15 years later - thanks probably to the internet - you finally find out what that song was... and it was never released, and you still can't get it! With so many shows playing exclusive DAT recordings or demo tapes, it's a sadly recurring story for fans of indie, 90's hip-hop. But at least one of those cases has finally been resolved satisfactorily.

The Constant Deviants were one of those artists whose demos got played on Stretch and Bobbito in the mid 90's. They're essentially a Baltimore crew, but I think at the time they were staying in Jersey when they broke into the east coast indie scene. And while they did go on to drop a couple of 12"s over the years, including some stuff through Buds Distribution which you've probably seen around, hardcore connoisseurs were stuck with nothing but dodgy radio rips of two of their best cuts: "Problem Child" and "Feel That." Well, Six 2 Six Records (that label I just guest blogged for) has stepped up to correct that. In fact, you might remember me blogging about them early in the year, saying how they needed a little encouragement to get their stuff the proper final treatment, right? Well, they've done it and this is it. 8)

"Problem Child" b/w "Feel That" comes in a fresh picture cover and is pressed on clear vinyl in a limited pressing of 500 copies. For those who haven't been waiting impatiently all this time and don't know what to expect: Constant Deviants aren't really on that rugged, rah rah tip, but more of a smooth, summer cool out kinda vibe. Think a little bit Unspoken Heard or early Juggaknots. They've got some nice, quality scratches by DJ Cutt who clearly knows what he's doing, but it's all played very low-key. There's no hectic scratch frenzy break-down, but the cuts are there, adding another level. And similarly, M.I.C. doesn't go for showy punchlines or hyper-kinetic spitting... just an assured, easy-to-listen-to flow. He comes with a message that's essentially the same as 3rd Bass's "Problem Child" - natch - though presented in a little more of a reserved, autobiographical manner.

"Problem Child" is undoubtedly the one for me, but "Feel That" has a cool, distorted sonic loop as the driving sample, which is really addictive. And this 12" doesn't just finally give us these two songs in pristine sound quality for the first time, plus instrumentals... There's also a "Problem Child" remix. It's almost a cross between the two songs, with the vocals from the original "Problem Child" (of course), but set to an instrumental that's more in the vibe of "Feel That."

At the end of the day, it's all good music. It may not be the most attention-grabbing "oh shit; I need that!" material to come out of the limited scene; but if you appreciate hip-hop's subtle side, you're sure to be feeling everything on here. And like their music, the pricing is also more down-to-Earth than most of the other limiteds these days, which definitely helps. So for the heads who've been holding onto low-quality cassette rips of these songs, it's definitely a happy ending.

Sealed Records MAGIC!

(Youtube version is here.)

Can it Be That It Was All So Simple Then?

This is an under-praised excavation from Stones Throw Records... In 2008, they put out a nice repress of Arabian Prince's debut album, Situation Hot. That album was only released on cassette, and Stones Throw gave it the top quality double vinyl treatment in a nice gatefold cover, and they included one or two other vintage-era Arabian Prince songs from that era as bonus tracks. Granted, it wasn't really the first time these songs were getting released on vinyl - they'd all been put out on a series of 12"s back in the day - but it was still a first-class reissue.

Even better, though, they also included a bonus 7" with the album. It features two vintage, never-before-released tracks: "Simple Planet" and "Beatdabeat." I have mixed feelings about Arabian Prince's catalog as a whole, but I love his early Macola stuff, and that's what this is!

My excitement has to be tempered, however, by the fact that these are both instrumental tracks. That's a definite disappointment, and probably why I wasn't blogging about this the day it dropped. But, still, it's that great, O.G. Arabian Prince sound... "Simple Planet" even features some signature riffs from some of his early hits like "Situation Hot" pop up occasionally.

So, I'm letting you guys know about this now because, until recently, this was only available with purchase of the double LP, Innovative Life - The Anthology - 1984-1989. And I do definitely recommend that package... but if you already had all the original 12"s, the repress would be pretty redundant. But now, some online vendors (like hhv.de) are finally making this 7" available for purchase separately, so you can finally complete your Arabian Prince collection without re-buying his whole back catalog. Sweet as!

P.s. - Stones Throw has released one more Arabian Prince record... 2009's reissue of "Let's Hit the Beach." "Let's Hit the Beach" is one of the many fun tracks from Situation Hot/ Innovative Life (and it was originally released on 12" with "Take You Home Girl"). This reissue features a fun picture cover and two exclusive, contemporary remixes. If you were considering picking this one up, let me just tell you: those remixes suck! Stay away! It doesn't even include the original instrumental, though it does for both remixes. If you're a hardcore completist, go for it. But if you were eyeing those remixes, take my word for it and don't bother.

Six 2 Six Guess Blog

Hey, guys. I've been invited to be a "Guess Blogger" over on TheSix2SixShift. If you don't know, Six 2 Six is the label that's been putting out recent releases by The Constant Deviants, Sparrow and that Lord Digga record I reviewed earlier this year. Anyway, my post there just went up, so you can head over and read it here now. 8)

Also, if you missed it in my tweets, TheBigSleep has done a flattering write-up of me over on The TROY Blog. So check that out here - thanks, guys!

UGK Let Their Nuts Hang

(Youtube version is here.)

(New) 2 Live Freestyle

The 2 Live Crew went through some turbulent times in the 90's... breaking up, reforming, members quitting and rejoining. And at one point during all of that, Luke realized he had lost too high a percentage of its members to act like nothing had happened. So he added a new member, made himself an official member and with remaining original member Fresh Kid Ice, released an album by a crew he dubbed The New 2 Live Crew. It was to be a short-lived experiment, as Back At Your Ass For the Nine 4 was this iteration's only album.

But it was an interesting experiment. The new guy, Verb, had a real east coast sensibility and was focused on lyrical skills in pretty much the exact opposite way the 2 Live Crew had been up 'till then. And Fresh Kid Ice was doing some interesting things (see my review on Hip Hop Isn't Dead to learn about that) at the time with his production company ICP (not that ICP), working with the very underrated duo Balli and Fat Daddy, who were recently featured on the Diggers With Gratitude mixtape.

But unfortunately it was also a failed experiment, It featured way too much Luke, doing his "I can't rap so I just filibuster on records" shout and call songs, some lame crap where they rip off the hook to Barney the Dinosaur's theme, and a bunch of skits, which unfortunately wound up being the most memorable part of the album, as they featured Dolemite.

There were a few decent moments, but only one really good song.

Thankfully, the released it as a single.

"2 Live Freestyle" came out on Luke Records in 1994. Promisingly, the album credits say this features Fat Daddy (though they spell his name "Phat Daddy" here), and the 12" mentions him, too. But disappointingly, he's not on here. I guess maybe his voice can be heard if you stick your ear to the speaker during the hook? But he doesn't get a verse (it goes Verb, Ice, and Verb again), which is a seriously missed opportunity.

But, putting aside what we don't get, we do get a hot beat, which they credit to The New 2 Live Crew themselves. Personally, I suspect that might really mean the ICP, which would also explain why Fat Daddy's voice would be on the track if they didn't bother to give him a verse. I also don't imagine Luke, Vern or Fresh Kid Ice are doing those scratches. But, whatever; it's dope and certainly not typical 2 Live Crew. It's more Bomb Squad or something with it's squealing horns and hard bass. Lyrically, Verb is just okay, but his delivery and this beat are great. And Ice at least treads water and manages not to ruin the song.

The 12", as you can see, comes in a dope picture cover done by Society (yes, that Society). More importantly, it also features a pretty dope remix by DJ Spin. It's not quite as good as the original... it's a little lower in energy, going for a darker, subtler vibe (sort of like a Buckwild does, but yaknow... I'm not saying it's exactly on par with a Buckwild remix). There are also radio edits for both mixes, if anybody cares.

There was one more single off Back At Your Ass with a similar picture cover and a couple exclusive remixes. But this is the only one worth your time. The New 2 Live Crew went on to do a couple more worthwhile songs on Luke's last solo album and the delightful holiday-themed compilation album, Christmas At Luke's Sex Shop; and then it was a wrap. Fresh Kid Ice followed Marquis and Mr. Mixx out the door, and the The Live Crew re-formed with no connection to Luke on Joey Boy Records. Verb was apparently meant to go on to a solo career, but that never quite materialized (see my video here for his "lost" songs).

Bazerker

There's nothing rarer in hip-hop than the comeback album that actually lives up to the artists' past material. Usually we're happy if there's just a slim reminder of what once was to be found in what now is. But this is that elusive, mystical beast., just dropped at the end of 2010: Son of Bazerk featuring No Self Control's second album, Well Thawed Out.

It opens with their lead "single" (in quotes, because that's as close as I'll ever come to calling an mp3 or Youtube video a single) "I Swear On a Stack Of Old Hits." This captures everything that's great about Son Of Bazerk. Their energy, their signature voices, classic samples and ever-changing music and styles, the frantic craziness. It's nineteen years later, but this could just as well have been released in 1992.

And the rest of the album definitely holds up. The production is great, sometimes coming with old school samples which sound fresh and new when put through the Son of Bazerk wringer, alternated with all new samples and loops you've never heard before. And the whole gang is still intact... this isn't one or two guys trying to carry on the legacy of a bigger group. As they say on "Let Me Tell You Who I Am," it's still "three guys, four girls and a one man band." Johnny Juice is still cutting ("my DJ spins to keep the roaches from comin' in") Half Pint is still screaming. You never know what's going to come around the next bend: something slow and soulful, something rough and rugged, is the song suddenly going to stop in the middle for a silly gag? Will they rap or sing? Will they do a number where they hiccup through the whole song?* You never know what's around to expect, but whatever they hit you with, it always flows perfectly.

In fact, fuck it. I'm going to come straight out and call it: I think Well Thawed Out is actually better than Bazerk, Bazerk, Bazerk. It's more consistent and the highs are at least as tall as they were in their MCA days. Take "Stomp." I really don't see how anybody could not like this song, whether they're an old school head or hipster tween, underground purist or commercial fair-weather head, die hard New Yorker or someone who swears my west coast gangsta rap from the 90's. It just plays.

Now, this was mostly just released via mp3 (sigh), but there is a physical release, available from amazon. It's one of their made-on-demand CD-R releases made with CreateSpace. But really... is there any actual difference between the sound of this and a regular CD? I can't hear any. And it comes in a proper jewel case with artwork and label. The front even folds out booklet style (though there's not really anything in there besides the track listing which is already printed on the outside), so the only practically difference between this and an official CD release is that it's... cheaper. Well, that works for me. I couldn't be happier with a CD release or a comeback album than I am with this one.


*Yes, they will. That's on here.. ;)